The Beech Tree of the Madonna at La Verna 1605 - 1607

Editor: We're looking at "The Beech Tree of the Madonna at La Verna," a drawing made between 1605 and 1607 by Jacopo Ligozzi. It's crafted with pen, ink, tempera and charcoal on toned paper. I’m immediately struck by how this massive tree seems to both dwarf and cradle the figures. How do you interpret this work? Curator: The tree, centrally placed, is an enduring symbol, its sheer size speaking to both the physical world and the spiritual realm. The Madonna within its branches is a potent image. Where do we typically find depictions of the Madonna? Editor: In churches, mostly, or as icons... Curator: Exactly! This unexpected placement shifts our understanding. The beech tree, already a symbol of endurance and shelter, becomes a sacred space, a sort of natural cathedral. Note the hollow within the tree; it resembles an altar, where figures gather, suggesting pilgrimage or worship. How might the natural setting influence the emotional weight of the religious subject? Editor: It almost democratizes the divine, making it accessible within nature rather than contained in a church. And the Madonna isn't presented as untouchable, but nestled within this organic structure, making her feel almost…approachable? Curator: Precisely. And it subtly emphasizes a continuity. The tree, ancient and strong, embodies the enduring presence of faith. Ligozzi cleverly merges the earthly with the divine, suggesting a sacred history embedded within the landscape itself. Think about what these settings may have represented to contemporary audiences... Editor: So it's about finding the sacred in the everyday, almost literally rooted in the world around us. I hadn't considered that. Curator: Indeed. Ligozzi gives us much to contemplate about faith, nature, and the power of enduring symbols.